Midblink still fine
I wish I had this chart for my paper on the Uncanny Valley last year.
My first modeling of a set in Autodesk Maya, I was supposed to pick an art piece, recreate it in Maya then alter it in some way to turn it into it’s own piece. I didn’t read this correctly however and just modeled one of the favorite venues I’ve been to: Neumos in Capitol Hill, Seattle. This was the setting for a few great memories when I visited Seattle over summer and I just felt like recreating some of the chaos that made this place stand out to me. Creating different shaders to match the materials was fun to play around with and I feel I figured them out well for a first time modeling session. The main structure of this room is well represented for how it looks overall and I feel the lighting still captures the tone of the place albeit being a little intense for some of the more reflective surfaces. I’m satisfied with many aspects, but hope to return back to representing this place again after some more practice, if I don’t find another venue to model by then.
This was a very fun animation assignment I did for my Imaging and Animation course where I combined two dimensional animation with some three dimensional elements. While I respect both mediums I find I enjoy working in 2d more often than 3d, although I would like to be skilled in both. My concept for this video was to simply put two mediums into one without the other feeling out of place. I attempted this by having each subject in their respected “dimension” interact with the other in a way I felt would be understandable. By acknowledging something in a more complex dimension than ours it could be considered to be greater or more sophisticated than our world. I made the two alien creatures simple-minded and their goals shallow while the three dimensional beezleborb a foreboding “character” that interacts with them simply, but without explanation. I am pleased that, without thinking about it too hard, this is just a simple narrative anyone can enjoy, but thinking about it as a conceptual piece would hopefully give somebody a more complex question of what we could fathom and how we would interact with the knowledge we don’t even know we don’t know yet.
Do I win #1 girlfriend award yet
"We’re walking down the street in New York and in New York the paparazzi guys sometimes ride around on bikes and they ride ahead of you and get to the end of the block and start snapping pics and they want to get you picking your nose or whatever.
"So I said to Bateman ‘Let’s have fun at their expense’ and just grabbed his hand. Which he was way too cool with. Sweaty palms, I’ll just say that. I feel like his internal monologue was ‘Finally…!’
"I wanted to make it look like we were just two guys out doing a little afternoon shopping in the Village, which is… actually what we were doing, so who’s the joke on…
"By the way, you can tell by the photo, I’m the top. Obvie." - [x]
Let’s go on an adventure.
riddle me this. how did this go from here
well my friends, i give you the craziest tale i have ever told.
Drawing from films
Drawing from films is a ridiculously useful exercise. It’s not enough to watch films; it’s not enough to look at someone else’s drawings from films. If you want to be in story, there’s no excuse for not doing this.
The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. You put on a movie - I recommend Raiders, E.T., or Jaws… but honestly if there’s some other movie you love enough to freeze frame the shit out of, do what works for you. It’s good to do this with a movie you already know by heart.
Hit play. Every time there’s a cut, you hit pause, draw the frame, and hit play til it cuts again. If there’s a pan or camera move, draw the first and last frames.
Note on movies: Spielberg is great for this because he’s both evocative and efficient. Michael Bay is good at what he does, but part of what he does is cut so often that you will be sorry you picked his movie to draw from. Haneke is magnificent at what he does, but cuts so little that you will wind up with three drawings of a chair. Peter Jackson… he’s great, but not efficient. If you love a Spielberg movie enough to spend a month with it, do yourself a favor and use Spielberg.
What to look for:
- Foreground, middle ground, background: where is the character? What is the point of the shot? What is it showing? What’s being used as a framing device? How does that help tie this shot into the geography of the scene? Is the background flat, or a location that lends itself to depth?
- Composition: How is the frame divided? What takes up most of the space? How are the angles and lines in the shot leading your eye?
- Reusing setups, economy: Does the film keep coming back to the same shot? The way liveaction works, that means they set up the camera and filmed one long take from that angle. Sometimes this includes a camera move, recomposing one long take into what look like separate shots. If you pay attention, you can catch them.
- Camera position, angle, height: Is the camera fixed at shoulder height? Eye height? Sitting on the floor? Angled up? Down? Is it shooting straight on towards a wall, or at an angle? Does it favor the floor or the ceiling?
- Lenses: wide-angle lens or long lens? Basic rule of thumb: If the character is large in frame and you can still see plenty of their surroundings, the lens is wide and the character is very close to camera. If the character’s surroundings seem to dwarf them, the lens is long (zoomed in).
- Lighting: Notice it, but don’t draw it. What in the scene is lit? How is this directing your eye? How many lights? Do they make sense in the scene, or do they just FEEL right?
This seems like a lot to keep in mind, and honestly, don’t worry about any of that. Draw 100 thumbnails at a time, pat yourself on the back, and you will start to notice these things as you go.
Don’t worry about the drawings, either. You can see from my drawings that these aren’t for show. They’re notes to yourself. They’re strictly for learning.
Now get out there and do a set! Tweet me at @lawnrocket and I’ll give you extra backpats for actually following through on it. Just be aware - your friends will look at you super weird when you start going off about how that one shot in Raiders was a pickup - it HAD to be - because it doesn’t make sense except for to string these other two shots together…